Reviews. ‘Re-Percussion 88’

Press, 28 November 1988, Page 7

Reviews. ‘Re-Percussion 88’

Re-Percussion 88, featuring the Canterbury Percussion Ensemble and others, Salvation Army Citadel, Saturday, November 26 at 8 p.m. Reviewed by Gerald Ginther. The percussion section is probably the most underrated of instrumental families. On the evidence of this concert, percussion ensembles and percussion generally deserve far greater prominence in the musical world than previously given. The variety of instruments available to an ensemble is virtually without limit and the power and projection generated is overwhelming at times. The first quarter was mainly dedicated to the developing skills of younger performers, including a mixed media presentation by pupils of Elmwood School. Highlights of the first half included a scintillating arrangement of Gershwin’s “Fascinatin’ Rhythm” by the Re-Percus-sion Ladies Only Group. Although there was not absolute surety of ensemble, the playing deserved the enthusiastic applause it received. The demanding “Sonatina for Timpani” by Alan Ridout was performed with balance and precision by Jane Somerville. This was followed by some virtuoso xylophone playing by Sarahjane Bashford in “Temptation Revamped.” A hymn in four-part harmony played on one marimba is certainly a novel sound and Brent Hayward performed "Lead Kindly Light” with sonorous dexterity. The Cashmere High School Percussion

Ensemble brought the first half to a blazing conclusion with a brilliant arrangement of “Protoplasm” by Frank Proto. This piece explodes into action with an opening of elemental power both visually and aurally mesmerising, succeeded by a cool melodic vibraphonedominated passage which totally involves the listener. The second half opened with the Christchurch Cathedral Hand-bell Ringers. They did not possess the polish of most of the other performers and the timbre does pall after a while. Some judicious pruning of items might have helped. Finally the doyen, of the ensembles, the Canterbury Percussion Ensemble, splendidly entertained with a varied selection of arrangements. Highlights were a dazzling arrangement by Nigel McGregor of “March of the Siamese Children” by Richard Rogers and the calypso number, “Come Back Liza,” played on steeldrums, introducing a splash of Caribbean sunshine. Kabalevsky’s “Dance of the- Comedians” induced the performers into virtuoso feats of dexterity in realising the blinding flashes of colour. The concert concluded with an arrangement of Aram Khachaturian’s “Sabre Dance,” with more virtuoso playing, although perhaps the arrangement missed the primitive Armenian flavour of the original. One cannot conclude without paying a tribute to the inspirational and organisational abilities of Tom Williams, one of percussion’s great advocates.